Yoshitoshi's paintingBiblio.com
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Yosa Buson [Japanese Edition]
127484Heibonsha Publishers, Tokyo. 24 S. ; 30 x 24,5 cm ; kart. ;
Antiquariat Weber · DE - Neuendorf10,40 €
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2092902138300353Kamikichi Amishima N.A. Soft Cover. Fine. The book is in fine condition. Kamikichi Amishima paperback
18792110502150908231Chujiro Funatsu Version 1879. Soft Cover. Fine. Number of books: 1 Chujiro Funatsu Version paperback
19402092902140601054Great Japan Oratorical Society Kodansha 1940. Soft Cover. Fine. Number of pages: 76p Size: B5 Great Japan Oratorical Society Kodansha paperback
IN 4. BR [BE]. ENV 50 PP. 43 PPL DONT QQS EN NOIR. [BE]
18792110502150908819Chujiro Funatsu version 1879. Soft Cover. Fine. Number of books: 1 Chujiro Funatsu version paperback
127484Heibonsha Publishers, Tokyo. 24 S. ; 30 x 24,5 cm ; kart. ;
This is a very good softcover copy with only light wear. Completely clean inside and out. Spine not creased. Text in English and Japanese. Introduction by Atsushi Tanaka. Essays by Masanori Ichikawa and Yasuhiro Shimada. Yorozu Tetsugoro (1885- 1927) was a leading Japanese painter at the turn of the 20th century, very much influenced by the artists in the School of Paris. About 1912 he became a founder of the Fyuzankai (Fusain Society), a group of Japanese artists moving past the Impressionists into the world of Post-Impressionism, Fauvism and Cubism. Profusely illustrated in color and some black & white. 11" high X 9" wide, 265 pages. This book will be securely packed and shipped with tracking.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards, light traces of storage and no bumping to corners. 174pp. Exhibition catalogue with 144 plates.
SIGNED BY AUTHOR. IN HEBREW AND ENGLISH. 27X21.5 cm. 132 pages. Hardcover. Cover slightly chafed. Spine slightly chafed. Else in good condition.
SIGNED BY THE AUTHOR. 270x215 mm. 137 pages. Hardcover. Cover corners and edges worn. Spine worn, bumped and slightly loose. Pages slightly yellowing. Else in good condition.
IN 4. BR [BE]. 24 PP. 8 ILL DONT 1 EN NOIR. [BE]
19932091502135709524Not Available 1993. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19482110502150900987Kyowa shuppan 1948. Soft Cover. Fine. Volume: 1 Kyowa shuppan paperback
IN 4. BR AVEC COUV REMPLIEE [BE]. 136 PP. ENV 70 ILL EN COULEURS. [BE]
Book shows light wear to covers only. Binding is solid and square, text/interior is clean and free of marking of any kind. 133 pages provide an overview to the subject with a map, chronology and sections on sculpture and woodworking, funriture, metalwork, lacquer, bamboo, basketry, textiles, Painting, shop signs, ceramics with large b&w photos throughout.
Fine English Original bdg. Hardcover. 4to. (31 x 24 cm). Fully color ills. 226 p. 1500 copies were printed. 813 no. copy. (0813 / 1500). Yilmaz Demirag. [Catalogue of the artist]. Translators: Fevziye Ipekçi, Elif Saygi, Melis Ilter, Nil Algan
Fine English Original bdg. Hardcover. 4to. (31 x 24 cm). Fully color ills. In English and Turkish. 226 p. 1500 copies were printed. 542 numbered copy. (0542 / 1500). Yilmaz Demirag. [Catalogue of the artist]. Translators: Fevziye Ipekçi, Elif Saygi, Melis Ilter, Nil Algan.
New English Paperback. Pbo. Oblong large 8vo. (22 x 24 cm). In English and Turkish. 28 p., color ills. 1000 copies were printed.Yildiz Moran. Life force.= Hayat hamlesi. [Exhibition catalogue]. Curated by Denizhan Özer.
134938Benaki Museum 2008. Brand new. Bilingual greek-english edition. Soft cover 29x24 cm 188 pp. exhibition catalogue; includes an extensive text by Aphrodite Kouria art historian and the exhibition curator and a large number of works that cover the entire spectrum of the artists oeuvre emphasising the three major thematic periods in his painting: portraits mainly inspired by old photographs; objects of private life and the microcosm of daily life; landscapes both urban and from nature. Early works drawings as well as models for set and costume designs for the theatre complete the publication alongside texts written by the artist himself shedding light on his personality and his oeuvre. // Yiannis Migadis. El color de la memoria. Descripcion: El volumen «Giannis Migadis El color de la memoria» se publico en septiembre de 2008 con motivo de la exposicion del mismo titulo del artista griego organizada por el Museo Benaki 22 de septiembre 9 de noviembre de 2008. La publicacion comprende un extenso texto de la historiadora del arte y comisaria de la exposicion Afroditi Kouria y un gran numero de obras que cubren todo el espectro de su labor centrandose en los tres grandes ciclos tematicos de su pintura: retratos inspirados fundamentalmente en fotografias antiguas objetos del ambito particular y el microcosmos de la cotidianeidad paisajes medio urbano y natural. Obras tempranas dibujos asi como maquetas de escenarios y vestuario para el teatro completan la publicacion junto a textos del propio artista que arrojan luz sobre su personalidad y su obra. Benaki Museum 2008 paperback
IN 8 CARRE. BR [BE]. ENV 60 PP. ENV 30 ILL EN COULEURS. [BE]
20071933FBOhne Ort, Ohne Verlag, 2007. 4°. 27 x 21 cm. 36 Seiten. Original-Broschur. [2 Warenabbildungen]
30x23 cm., 118 pp., hardcover, dust jacket, cover and spine slightly worn on edges, slightly yellowing dust jacket, slightly worn on edges, slightly yellowing pages. else in good-/good- condition.
Fine English Paperback. Pbo. Dust wrapper. Small 4to. (26 x 19 cm). In English and Turkish. 88 p., color and b/w ills. Yet another story about the fall.= Düsüse dair bir baska hikaye daha. Curated by Ilkay Balic. Yet Another Story About the Fall" was Fatma Bucak's first solo exhibition in Turkey and presented new works by the artist along with a selection of her recent works (2012 and 2013). "The Fall" is a concept of central importance in the artist's production. Bucak problematises gender- and identity-based discrimination in her works, and revisits creation myths that regard man as superior to woman, therefore going back to the very beginning, the fall of man from heaven to earth. Bucak produced a new two-channel video installation especially for the exhibition at Arter. Shot at Tuz Gölü (the salt lake in Central Anatolia), the part entitled "And then God blessed them" brings together the female and male archetypes in a harsh and timeless part of nature for yet another confrontation. As in many of her other works, Bucak included her own body in this performance as an anonymous female figure, and was accompanied by a family member: her brother. In the second part entitled "Suggested place for you to see it", we see a group of women Bucak invited to take part in her work as "viewers". The comments of these 13 women become a performance in itself. Their real-time reactions meet the possible comments of the viewers in the exhibition space; and in this manner the installation proposed a contemplation on the position of the viewer in front of a work of art, and our ways of interpreting art. In her works, Fatma Bucak records actions she performs in meticulously designed settings in their entirety. These works, in which she simultaneously engages photography, video and performance, often deploy universal symbols (like in the reference here to The Last Supper which is assigned via the number of viewers). In this manner, Bucak reverses and re-enacts myths, religious parables and autobiographical narratives. The broken loaf of bread, which the artist then tries to sew back in "Blessed are you who come ¿ Solida Fundamenta" recalls the effort two different communities of the same land make to remain together, whereas the egg in the video "I was not able to prevent the fall" gives an uncanny sense about what is about to happen. In the work entitled "Omne Vivum Ex Ovo ¿ Nomologically possible, anyhow", installed at the entrance of the exhibition space, eggs are now being placed in concrete blocks. This 13-screen installation, first exhibited as a 5-screen installation in London at the Catlin Art Prize exhibition in 2013, and redesigned with the addition of music for the exhibition at Arter, returned to the themes of birth and hope associated with the image of the egg this time in association with urbanization. Videos at once both appearing and disappearing on the screens, point at an action with no clear beginning or end: a woman is constantly placing eggs in the holes of countless concrete blocks. Is she doing this so they can mature in their concrete nests and hatch when the time is right? Can life really emerge in this sullen landscape? And if it were to, what kind of creatures would step out from these eggs?
